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14th July tutorial with Gerard 
Glitches, hard edges. Unresolved questioning, attempting to work not to be poetically finished
In danger of being too poetic

Chopping up and piecing together..
Material history and nature of objects and material as soon a s you work with a medium that is fundamentally alienated from that
Text to reflect it … Affords a different perspective.

Words to. Connect the work.. Route for audience to interrogation
Words on the wall or floor..

Grappling with stuff.. Chop up texts and put onto wall.
Alice Acock

Smithson

Arte povera

Weights tied on and against the wall

 

 

7th July tutorial with Stewart

The death of Stalinism in Bohemia

Break up of Soviet Union metaphor of clay

I am giving the bowls time in that form
Choosing to give them extended time
Between creation, current form and return

Reverence of person or clay.?.. Mixed metaphor where am I now? what am I dealing with ?, holding onto ? Am I now asking people to attend to the material and so ritual is not right. Burial.

Needle into clay

Swedish artist giant gramophone horn on plough as needle

Synthesising ideas  bowls and sticks balancing

David toop
Sinister resonances

Earth as speaker link to vinyl

Tables on pots. Joseph bueys. Balance on objects

Precariousness vulnerability

30th June Ang and medina

Process -make it visible.

Processing the clay.

Put pots back into water..

2p machine

image

 

30 June tutorial Chris Dunne

Pinch pots project (black earth)

consider making marks on the pots. If the work is about strength then possibly being active not passive.

Tables -not art school. Not of here.

Two chairs back to back and a table top. Referencing the precarious. Homemade.

 

23 June tutorial Ang, Louise

Kate Corder allotments growth. The art of cultivation. Garden near Heathrow.

http://www.katecorder.net

(interesting crossovers with new orchard project ideas )

 
Video footage.
A lot of footage. Document with small d

Slow season on bbc

Idris Khan

Hughes digging

Diary in real time not post.

Documentation should be Sensitive to geological time frames

Quiet exchange making pots in gallery

Madsen film about nuclear waste depository

Golems

Reference the site back in the way of display
Reference the process in the way of display

Archeological reference to how a site is marked out could be useful visual for how to display

Crushed into balls

Do I need to detach visibly before re burial.
Fill with clay..
Clump into a form like the reverse of the hole they came out of

Challenged to consider presentation of work. Document process with a small d. Possibly have a round table surface with the process shown from start to finish.

Challenged to consider if the pots should be destroyed. Am I still being to reverential by treating as treasure hoard and burying?

Try crushing up, returning to a ball of clay, smashing up dried ones.

2 June SILENT crit with peers and Alec and Gerard

Looking at coil pots and listening to sound piece .

Malynda – The overlapping voices demand attention – you look at the machine, at what’s making the noise.

The table is an object in its own right – it is anxious, makes you anxious. Fragile, makeshift table a sense of tension that it could break, temporary

——

Alec – the little paper wedge under the leg

pots as people

the shift in focus from sound to pots could be deployed…time scale…

teetering around the edge, delicate

———

Alec – gerard – pots organic , don’t resemble anything, not fixed opens interpretation

beehives,people,human form, mud huts, basket ware, vessels, lampshades, termite mounds, seed pods…..industry

potteries – beehive- community

——

Malynda -voice is intimate, storytelling, earthy references

sad pots – spoken joy – conversation between…should we see the Dansette?

——

Lena – Therapeutical for the soul – exterior ate your feelings in clay-personality in clay-improvisation in clay

in balance/balance

sound creates a personal space in tone NOT words

informality to clay and scale is intimate – redundant containers- reprocess

—–

Alec – Haptic

finger tips

logic of learning in technique

process – not high art but heightens my senses

within touching distance of touch

ancient time aspect -temporal sound

potters wheel – vinyl

not well done -improvisational- private space

wandering around in the company of the coil

not taking time to smooth

implied track of thoughts

should identify the dynamic that they are made by other people.

26 may Medina

the works are markers – plotting the journey.

euphemisms for something less beautiful

they are unpacking something

participation makes it bigger than you

 

contextual pause – getting off the carousel

having the temporal piece – the sound mirrors the inuit walk.

28 April Tutorial Gerrard

discussed – digging clay, cyclical process of making and reprocessing, until clay breaks down -shortens in platelets.

discussed the large sticks piece for final show.

discussed the sound piece

what the work is -don’t worry about that being concrete. As long as you are keeping an eye on where the work is going ,and how it all relates, how it will look then allowing some of the work to be ‘slippery’, less concrete is probably helpful.

look at materials that, like the underlay, are pragmatic,practical, functional and so have that (non) aesthetic – perhaps insulation -recycled bottle insulation, sheepswool.

 

21 April Group Crit Alec, Stewart, Ang and Fine Art.

Bullet points

What is unnecessary, what do you leave out and strip back to reveal the work.

Where is the work?

The work is residing in the narrative..the doing.

Document intentionally -purposely the Processing of the clay.

What is clay?
Clay/gold permanence when fired become pot and cannot return to clay. To be broken down is becomes fragmentary.

Don’t need to show pots etc. where is the art? Is it the artefact?
Tools. Materials.
Documentary images.

Make a start for assesment.
What is the work? The doing. the enquiry into material not the artefact?
Do I exhibit the journey – the process from object to relation to material..

The documenting for me was to authenticate the event happened not as the place the work resides. Is this right?

The cyclical process could result in the processing, making into artefact, displaying and subsequent reprocessing of the same clay -a cycle that is limited to the deconstruction of the platelets in the clay.
30 March  Tutorial – Cath Personal Tutor

General catch up with where I am at.

  • Trestle table enough of an echo or ghost of what it needs to be
  • Looked at logistics of large trunk in gallery space.
  • Discussed testing out staging of drawings
  • Conversations in task pots …are in need of fiesta! .? Lynda Benglis ..look at her gestures. Make more to try it out…separate project? Is this my big pit project? A celebration…
  • Talked through sound piece idea.

phyllida BarlowPhyllida Balow ‘STREET’

Absence of painting in my practice?

Brief discussion about this: painting may still have negative associations, have a weight to it that isn’t comfortable for me to explore my research through. Not painting is not a problem any more. But maybe splash some paint on some pots..

After thoughts:

Absence of painting. Painting for me is is representational. It is not a tool which offers me resolution to the things I. Perhaps decoration is a stepping stone….to celebration.. Am thinking about. .. Painting as making not representational.

Landscape is about being out. Death.  The landscape will kill you. You can’t live in it.

Sea scape waiting Paul Theroux

My work – Restraint hunkered down being safe. Domestic security. Indoors

(just a thought not linked – Gardening controlling nature -response to fear of death? english gardening )

TO DO – Contact forestry about tree.

 

British wax  refining company.

Research into seals – new idea for archive project – it’s not about embedding or burying. It’s about the official seal, decision. Think about this more.

Don’t have to do everything. Could be a proposal for after the course.

The sound piece shows that you consider the symbolic the practical the audience. “You’re all over it, ”

 

24 March Tutorial – Gerard  – We talked through what would be the most useful way to approach the tutorial and I wanted to simply discuss where my thinking was in relation to what appear to be the key threads of practice –

sticks/trees/branches/bark – working title Resting Place – see Labspace Plus blog

Tree of 12 Metres 1980-2 by Giuseppe Penone born 1947

Guiseppe Penone. Tree of 12 Metres, 1980-82, Tate.

What most intrigues me, a constant concern of my poetic vision, is the relationship between the real time of growth and the personal time of ‘flaying’. The curiosity of discovering a new tree, and hence a new story, every time, and the stimulus in this sense that comes to me from the imaginative quality of every door, table, window, or board – all of which contain the image of a tree – explain the motivation and urgency of my recourse to this kind of operation, which is not repetition, but a new adventure every time. Guiseppe Penone

Germano Celant, Giuseppe Penone, exhibition catalogue, Arnolfini Gallery, Bristol 1989

Really beautiful work, resonating with my task of the one large ‘branch’ to represent my walk to dissipate emotion. The scale of the task involved in the craft of revealing these trees and the way they embody the artist are the defining aspects of this piece for me. I need to ensure that the large branch piece does not simply become a totem or a logistical project at the expense of its conception.

replica cast bowls – working title – Dumb Ossuaries 

 

cropped-image.jpg
 After being suggested several times I have contemplated and trialled stacking the bowls into a column. Also contemplated wedging the stack between floor and ceiling like the sticks, however the objects do not communicate when stacked.

What they are is seen through the aperture of the opening -this becomes invisible when stacked. Stacking 2 or 3 in the possible variations acknowledges the possibility has been considered and removes the mental action of stacking from the viewer.

Richard Slee -Work & Play, Nottingham Castle.

Referenced by Gerard in a discussion surrounding the appropriate table to display the plaster cast bowls.

I had resolved that it must be a domestic table, but must not lend added narrative, and this led me to a homemade trestle table from simply ply etc. as anything other felt weighted with domestic, historic or art historic narrative. However Gerard suggested that plinths may be possible IF the bowls are also resting on the floor, which I mentioned may be a possibility.  Richard Slee used simple trestle tables. They nod to the workshop, but also the domestic task of homebuilding, the use of the shape in modern furniture for kitchen tables – which is what I originally wanted to use – the temporary nature of the general use of a trestle table links to the work’s wrestle with time in process of manipulating the plaster. It links to jumble sales and the cycle of buying and selling unwanted objects.

Stacking within the piece links it to the overlapped drawing series.

Drawing series – working title – Standstill Repetition  or Repeat to fade.

I discussed that I had become blind to the piece as I live with it daily and needed to re visit what it is. the shelves are correct and Gerard saying that they look like lines on a page made me see the work as a piece of writing.

I need to experiment with them on a white wall again, but the idea of a grey wall panel encompassing the piece feels right at the moment. The white wall with grey shelves would replicate writing paper.

Moving several of the drawings and spacing them apart immediately meant that as a viewer I questioned why the others were overlapped and this is intriguing -adding a tension. The conversation between the drawings and the castings opens up.

 

 

17 March Tutorial with George Shaw.

Notes:

Brother had nothing, just the pub and unsympathetic blokes cheering at the football. I had this art thing. To talk around the subject

Positive negative opposites create the energy in the middle.

The place where something happens.

Death, dead body, deposition. Discussion about religious painting as a frame to hang on imagery of the human concern with death. Absence at the centre of image compositions.

dad had said he was wasting his time on photography course because he could draw. “You can’t photograph the inside of your head”

Photography can only capture what’s there. Drawing can represent that which is not there.

The drawings are not just representations of the object.

The bowls are funereal and emotive. They transcend having a philosophy or narrative or formal concern to the material. The desire to touch. Tactile. How they were made what you can do with them. How thin, how manipulated, how many..

They are cool emotionally.

They look cool.

But it’s the right choice. The black background works.

You could colour them.

They would be different on different colour background.

It would be a different variant on the same idea. The one idea. But would say something other.

All art is dealing with loss. Agreed. The big questions are always there. Love death grief- the stuff of pop songs- that’s what people have at their funerals..3songs.

Important things are not measureable.

Opposite to Loss? Is gain.

Gain.

Cycle of creation clay is already buried as it comes out of the ground.

A drawing of a plaster bowl is a totally different thing from the drawing of the clay bowl.

Don’t destroy the original -put it in a lead lined box so it can’t communicate. Or give it to charity shop.. Pass on the monkey paw. Bad karma.

Life a users manual story of the artist gentleman.

Roger gober slides of a changing painting. Also says interesting stuff about therapy and art.

Hammershoi

IMG_0461

It’s all about opposites?

Positive negative

Black white

Full empty

Loss gain

 

 

Tutorial 24th Feb – Alec and Gerrard 

Alan McCollom – surrogates

 

Art21-AllanMcCollumOverTenThousandIndividualWorks348-657

MIchelle Charles – Ceasless return to a source, sense of touch

charles_glasses_k

Rebecca Warren

warren85214c8aimages

Bonnington Gallery – Returns. Topgraphies of the Obsolete.  – Visit Christine Stevens, fine art graduate and art therapist / psychiatrist creating large clay pot through communal participation.

Document process to create topography of work.

Consider interviewing yourself to document the work, or have a conversation with someone via email/spoken word to create a written piece. 

 

Alan Kane Tutorial

Time capsule – boxes with stuff in – Look at Andy Warhol.

Feathers – romantic /loaded

pots – the work is in the space between them – the relationship between them / tensions

You can make an exhibition in a weekend!

potz2installation_1

Children’s Art Commission Alan Kane: Home for Orphaned Dishes

Over recent years charity shops, jumble sales and car boot fairs have become filled with discarded traditional wheel-thrown, glazed stone and slipware pottery in typical rustic shapes and earthy tones. These recall

a shift in taste in the 1960s and 70s towards a craft revival, with the handmade look becoming a fashionable alternative to slick modernist design.

For this year’s Children’s Art Commission, British artist Alan Kane displays a collection of dishes amassed by
a friend who sees them as legacies of the work of William Morris and the Arts and Crafts Movement. For some time she has felt compelled to rescue these unloved objects and has accumulated an extensive collection. Kane creates a home for her hoard.

Throughout his career, Kane has questioned the hierarchies and forms of artistic production, frequently presenting examples of everyday creativity from beyond the sphere of what we might consider to be art.

You and your family are invited to hunt out ceramics and fill the empty shelving with rescued pots, bowls, mugs, goblets, vases or dishes found in charity shops, car boot fairs, garden sheds, attics and backs of cupboards.

 

Alistair – External examiner tutorial

Heidegger – The Thing

Rosemary Terry – GOW- gallery of wonder

 

 

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